Pendant with cameo "Bathsheba"
For work we need:
-cabochon-cameo size 40*31 mm
- beads Czech lilac 10/0 and 8/0
- beads Japanese rainbow 12/0
- crystal beads 2*3mm
- hematite beads with color coating of a cylindrical shape 3 * 5 mm
- felt 1 mm thick in the color of the product, glue moment "Crystal" transparent, cardboard, natural (or artificial) leather, scissors, beading needle No. 12, fishing line or monofilament 0.12 mm thick, pen or pencil.
So, glue the cabochon to the felt and press it firmly with your hands for a few seconds.
While everything dries up, we thread the needle, fold it into two threads and tie a large knot at the end. We skip the needle from the wrong side and bring it to the front side 1 mm from the cabochon.
We begin to sheathe our cabochon, first we will use crystal beads. We string two beads and sew them to the base, passing the needle to the wrong side at a distance equal to these two crystal beads.
We pass through the second bead and string two beads again.
We continue to perform in the same order the entire row around the cabochon.
Advice: if the row is not very even, then it is better to sew each bead separately, and not two at a time.
After you have completed the first row, pass the thread again in a circle, simply passing the needle through all the beads of the row. This will align the row of beads and strengthen the embroidery.
Threading a new thread into the needle and tying a knot, we begin the second row of our pendant. From the wrong side, we bring the needle to the front side, retreating 1 mm from the previous row. We start a new row using cylindrical hematite beads. We sew them one by one in a circle.
The third row is made of rainbow beads, similarly to the first two.
We fix the thread from the wrong side, cut it off.
Now we need to cut out what happened. We take sharp scissors (I use nail scissors) and begin to carefully cut, retreating 1 mm from the embroidery. Most importantly, do not cut the threads and seams that are on the wrong side, watch this!
After that, we take cardboard and a pen and circle our embroidery.
We cut out the figure along the contour, shifting to the center by 2-3 mm.
Glue the cardboard to the embroidery from the wrong side. This will thicken our embroidery and make it less flexible.
We begin the overcasting row, holding the embroidery with the front side facing us. We will use Czech beads of size 8/0 and 10/0, alternating them in order: one large bead and three small ones. The main thing here is to think in advance about the type of fastening (loops) on the pendant. I sewed six beads exactly in the middle of the pendant in its upper part, in order to start a loop from there to hang the pendant to the base.
So, we draw the needle through the skin from ourselves, that is, on the wrong side, between the felt and the skin. The knot is hidden between the layers of the product.
We string one bead and, retreating to the distance of this bead, we bring the needle from the front side to the wrong side. We tighten the stitch, while the thread should pass under the bead. We string another bead and do the same, alternating beads of different sizes according to the plan.
Thus, we close the edge of our embroidery with an overcast seam using beads. After we have sheathed the entire edge of the pendant, we need to fasten the thread. We pass several beads along the contour of the embroidery and make a knot, catching on the fishing line between the beads. We do this several times and cut off the monofilament.
Advice: if you are not sure that the edge with such decor will turn out to be symmetrical, sheathe the pendant with one size of beads.
As you develop your skills, you will know many ways to correct certain mistakes and inaccuracies. And most likely, you will not allow them, thinking through every detail in advance.
That's all, the wonderful pendant is almost ready. It remains to think over the external decor of our cameo and by all means run to walk it)))
I bring to your attention an interesting design of an embroidered cabochon frame.
The technique is known and applicable by many - the usual mosaic.
But in this case, the selection of material added the necessary zest.
So we're working...
On the Internet, I came across a photograph of the master's jewelry Cris Rugar.
Here she is:
To say that I liked the decision is to say nothing. And while I was drawing the diagram, a regular customer brings us a pendant. The frame is made in the same way!
See:
As they say, ideas fly in the air, you just need to learn how to catch them)))
The only difference is in the weaving of the corner. At Cris Rugar corner made in technology Ndebele. This is understandable, the cabochon has a sharper angle.
Let's try to create beauty?
When choosing a material, pay special attention to the size and color of the beads. Experiment, don't rush. And you will definitely succeed!
Frame. If we perform exactly the embroidered frame, and not the braiding of the cabochon, then the first row, as expected, is sewn to the base. If we practice braiding, then the first row is simply typed on a thread, closed in a ring and then we continue according to the scheme:
Thread passing:
When braiding a cabochon, the same (with the exception of the first row) must be done from the inside out.
Smooth beads to you and true pleasure from the creative process.
Yours, Elena Nazarchuk.
A little introductory word...
I thought for a long time what product we will make to study the basics. I wanted to offer some interesting design. But after weighing all the pros and cons, I came to the conclusion - we will do the simplest, and we will deal with the frills in the next classes. This will be a pendant (but you can make another decoration). In the center is a cabochon decorated with a mosaic frame. Around the cabochon, one or more circles of beads, beads, rhinestone braid, etc.
For the lesson, I made such a pendant
Don't worry, you can do without the Tila and Delica. Decoration design depends on your capabilities and imagination!
Now for some theory...
What materials are needed for embroidery?
First of all, of course, this beads, beads, cabochons and other nice things with which you are very familiar. I will not dwell on this point.
Threads. I use the same ones that I weave. Lavsan from "Mosnitok" or similar. Line won't fit. Monofilament can sometimes be used for the closing row, but it is better to embroider with threads.
Basis for embroidery. I do not use a hoop, so the basis for embroidery, first of all, should hold its shape well. To be honest, I have never tried a special basis for embroidery or simulated felt. A favorite material for a long time was interlining glued in several layers. Now furniture eco-leather has been added to it. A few words about non-woven fabric. This is perhaps the most accessible material! To make the base, you need a dense adhesive interlining, a thin one will not work. It is "glued" as follows. We take 2 identical pieces of interlining, fold them with adhesive layers inside. We place our "sandwich" between 2 sheets of office paper. Iron with a very hot iron without steam until the layers are securely glued together. Then add 2 more pieces of interlining and repeat the procedure. The result should be a 4-layer sample. If in its properties it somewhat resembles thin cardboard, then the procedure was successful and the non-woven fabric was chosen correctly. The main drawback of this material is that it is absolutely not suitable for partial embroidery.
Acrylic paints. The non-woven base is often dyed in the color of beads to make the decoration look neater, and sometimes to add additional rigidity to the material. Little trick. Nail polish does the same job.
It will take glue. I use Moment Crystal. The main requirements are waterproof, when it dries it must be elastic and pierce with a needle. It's good if it's transparent.
To strengthen the product, you need thin plastic. I barbarously cut thermal napkins.
Backing material. The main requirements for him are that the edges do not sprinkle and are relatively easy to pierce with a needle. If the skin is not too thick, otherwise it will be difficult to work.
And now I will list the materials that are needed to make jewelry:
Beads. You will need at least 2 sizes. 11/0 (for Czech 10/0) and 15/0 (for Czech 13/0). The rest is optional.
Cabochon. Mine is round, but you can use oval. Can be replaced with a button on a leg or a flat bead.
Beads. I have a thila. Can be replaced by others. Or do without them.
The basis for embroidery (I have furniture eco-leather).
Pins (optional).
Plastic.
Backside material.
Let's start practicing!
Mosaic cabochon frame embroidery.
Glue the cabochon onto the base for embroidery. Do not forget to leave room for creativity, step back a few cm from the edge;)
We will work according to the formula "2 beads forward, 1 back". The schema looks like this:
We fix the thread on the wrong side, we bring it out next to the cabochon on the front side. We collect 2 beads 11/0 (Czech 10/0, you can take cylindrical beads), make a stitch. The stitch length is approximately equal to twice the height of the bead.
We make a stitch in the opposite direction (stitch length \u003d height of the bead), we bring out the thread between the beads. Then we pass the thread through the second bead.
In the same way, we sew the next pair, and the next ... Until we make a full circle ... The number of beads in the circle must be even.
Even beads are sewn tightly to the base, and odd ones can be lifted with a needle. We draw a thread from any odd bead (usually this is the first bead) and begin to weave a mosaic.
If you have any problems with this item, see my old MK on this topic. There I talked about weaving a mosaic frame in some detail.
The number of rows depends on the height of the cabochon. Weave the last row with beads 15/0.
Now you need to walk again along the last row, tightening the frame.
The cabochon frame is ready!
Next, embroider a row around the cabochon. I took beads Milato No. 12 (I was going to try it for a long time), in shape / size it resembles Czech 10/0. This time we sew on one bead. The formula is "1 bead forward, 2 back". Scheme:
The scheme at first glance may seem complicated, but I'm sure you'll figure it out!
We bring the thread near the frame. Sew on 1 bead, make a stitch back (length = bead height), draw the thread through the bead.
* Cast on 1 bead, sew forward stitch equal to bead height, sew back stitch (stitch length = double bead height), draw thread through 2 beads... Repeat from * until you complete the row.
Homework. Try to embroider a row according to the formula "1 bead forward, 3 back"
Addition. Now many sew beaded rows attached. If you want to master this method, I highly recommend studying the lesson in ShBI from Maria Vukolova. While it's still available...
On the next row, I sew on a teela. You can use other beads instead of tila or skip this step altogether. All beads are sewn on one by one.
First I sew the tila along the inner diameter, the formula is "1 tila forward, 1 back"
In the next photo, I specially raised some of the beads so that it could be seen that the tila was sewn only along the inner diameter.
Now sew the teela along the outer diameter.
To close the gaps between the beads, I braided (! I just braided, not sewn on) beads 15/0. Unfortunately, the bead was not in focus ((
It should turn out something like this...
And another row. This time the last one. The last row is very important. The quality of the edge processing largely depends on how correctly it is embroidered. The main feature is that the needle is inserted and withdrawn as close as possible to the previous row. This will allow you to easily cut off the excess base.
Result:
We cut off the excess. The base should not protrude beyond the beaded edge.
And now the death number! I will show what I really don’t know how to do myself ... But I’ll still try, and you yourself think whether you need it or not;).
Usually, the accessories are attached to the closing row, but there is another way - to sew the pins curved with loops to the embroidery before starting to process the wrong side. Now I will try to do something that I have never done, I will make 7 loops of pins (usually I limit myself to two or three). Two will serve for hanging the product and five for decoration.
To begin with, I mark the attachment points
Now I'm bending the pins. You need to bend them in such a way that you can then sew them firmly
I'm sewing... The pins should be sewn tightly, not move relative to the base.
We drip glue only on the center of the embroidery and glue a piece of plastic to it.
Now trim off the excess plastic. First from the front, then from the wrong side. The size of the part should be slightly smaller than the size of the embroidery (so that it does not interfere with sewing the closing edge). After trimming, you need to glue the edges.
Now glue the embroidery to the wrong side. The very edge (about 2 mm) is not glued.
We process the edge. We will do this in the following way:
We collect 2 beads, pierce our layers with a needle (the needle enters from the wrong side, exits from the front side). The length of the stitch is approximately equal to the diameter of the bead.
We pass the thread through the second bead so that it (thread) is between the first and second beads.
Passing the thread through the bead
Having reached the pins, we continue to sew the closing row, leaving the pins behind the beads.
Having reached the end of the row, the first and last bead must be connected. Try to guess how to do it! 
The pins nevertheless played their negative role, the closing row turned out to be, to put it mildly, imperfect (((. I will decorate. Beaded decor can be woven to such an edge in two ways. The first is with a brick, clinging to the thread. Or so ...
Decor weaved in 2 steps according to the scheme
Here's what happened. Face...
It remains to attach the pendants and hang the decoration on a cord or chain. This lesson is over!
For work we need: 2 or 3 shades of Czech beads No. 10 or 11; Japanese seed beads No. 15, a small oval cabochon, bicones to match one or more shades of beads, felt, leather, thread, needle, scissors, glue (Super Momet GEL), a piece of cardboard.
Gently smear the bottom of the cabochon with glue - so that its entire lower "platform" is firmly glued, especially along the edges, to the felt, BUT so that the sides remain.
Glue the cabochon to the center of the piece of felt. In order to make it convenient to work, it is necessary that it lies tightly on it from all sides (otherwise the beads of the base row will try to "dive" under the stone)
We pour a little bit of beads of all working colors on velvet / felt / rug for beading, insert the thread into the needle, tie a knot. WE SEW IN ONE THREAD!
We leave from the inside to the face - as close as possible to the stone, as if from under it.
We collect 2 beads (Czech No. 10) of the base row (the first row around the cabochon, on which its braid will be held hereinafter - the BASIC row), move it into the stone, lay it - and make a stitch according to the size of these beads. We make a stitch again, as if under a stone.
We leave from the inside to the face between two sewn beads. We sew the entire base row as close as possible to the cabochon - from the inside we leave, as it were, from under it, we go to the inside at an angle - under it.
We pass into the bead in the course of our movement (toward or away from ourselves, as you wish). The first stitch is ready.
We repeat the same thing: we collect 2 beads of the 10th, move, lay, make a stitch ...
We leave from the inside between two sewn beads ...
Let's go ahead to one. We continue in the same way until we sew the entire circumference of the cabochon. We need a multiple of the 3rd number of beads in the base row - so when it remains to make a few stitches - we count the beads and then calibrate to get the number we need.
We pass along a completely sewn base row with a thread to pull together small irregularities and roughness - (this is called a "screed").
Keep in mind that this method will only help to correct minor irregularities in your embroidery. If you have been making sloppy stitches all the way, they will remain sloppy, so I am a supporter of unraveling such stitches right away.
If the length of the thread allows, we continue to work after the tie with it, if not, we fix it on the wrong side, take a new one, and leave any bead of the base row.
We begin to weave the cabochon frame. We collect three beads (Czech No. 10) - then (look at the photo) we return to that bead of the base row from which we left, and go 2 more forward. That is, in total we capture 3 beads of the base row.
There should be such a "peak". As you can see, it consists of 3 beads - and for the next we will need only 2 - because the third will be the side bead of the just woven "spike" (see the next photo)
We collect 2 beads, grab the side bead of the woven "spike" and again 3 beads of the base row: the one from which we came out (our working thread sticks out of it) and two more. They are marked with red dots in the photo.
Thus, such a "crown" grows around our cabochon. As you can see - we still have room for one more peak - it already has two side beads - marked with red dots on the sides. The point is also above them - we will sew the top of the last one there.
To do this, we go out with a thread from the side bead of the nearest "spike"
We collect 1 bead and pass into the side bead of the neighboring "spike". In this photo, the red dots indicate our workspace.
As you can see, the row is closed)
Now we need to use a thread to move to the top of the right or left peak. We do this along the same course of movement of the thread, which she already did in this weaving, so that the thread was not visible.
We leave the top.
We collect 1 bead No. 15 and go to the next vertex of the "spike". Due to the difference in the size of the beads, the top row will shrink and will hold our cabochon
We do the same around the circle. If you see that our "crown" does not close, but rather bulges, just connect a couple of vertices without a 15 between them - and do the same on the other side of the stone to make it symmetrical.
When you sew small beads (No. 15) between all the tops of the "peak", walk the thread along this entire row, pull it off to secure it.
Get it like this. Now the cabochon will stick to the felt not due to glue (it was needed for the convenience of work, in fact), but due to the frame. Now the thread needs to be taken to the wrong side (through the beads so that it is not visible) and secure
The scheme of this frame looks something like this. I think, given the detailed description of each step, it should be clear.
For the next row, I advise you to take a new thread - so, if you have to rip something, you will only need to rip the new row, and we are guaranteed not to touch the frame). ATTENTION! We sew all rows except the base one at a small distance from the previous one - literally 1 mm, that is, the distance of half a bead.
We sew the second row. We collect 2 beads (Czech 10), move them to the felt, lay them, make a stitch (also at a distance of 1 mm from the base row).
We leave from the inside and out at almost a right angle.
We leave between 2 sewn beads.
Let's go 1 forward.
We continue in the same spirit. The only difference is that we do not press close to the previous row. If you sew at a distance of 1 mm, the felt will not be visible, but the row will lie evenly and neatly.
We sew a row, we make a coupler.
We sew the third row. Also - at a distance of about 1 mm from the previous one. I sewed it in two colors - which means that for 3-4 stitches to the end I calibrated the beads to the size so that the pattern would fit. We make a tie.
We sew the 4th row, make a coupler and set aside our embroidery for now.
Weave a small star flower using the Ndebele technique. 1. Insert the two ends of the thread into the needle to make a loop on the other side. We collect 5 beads (No. 10), move them closer to the end and pass the thread into this loop. 2. Tighten - this is the center of the flower 3. We collect 2 beads of the color of the petals and pass into the next bead of the center of the flower in the direction of the thread. 4. We collect two more and move further in a circle in the same way as in step 3. 5. When the last petal is woven, you need to pass the thread into the first bead of the first petal.
6. it turns out such a thing. The thread comes out of the first bead of the first petal 7. We collect three beads No. 10 of the color of the petal and go to the second bead of the same petal. 8. We collect 1 bead No. 15 and go to 1 bead of the next petal.
Repeat steps 7 and 8 until we have this little flower. With a thread we move to the center and exit the nearest bead in the middle of the flower. We move, of course, through the beads! Red dots indicate size 15 beads (my jamb - I took an insufficiently contrasting bead color)
There comes a crucial moment - you need to cut out our embroidery. We do it very carefully - the main thing is not to touch the stitches, otherwise it will be difficult to restore. We take sharp manicure or needlework scissors and cut along the front side. Felt should remain literally 1 mm.
As you can see, the distance to the stitches from the inside remains decent.
IMPORTANT! There should be no "creases" and corners on the felt.
Now sew on the flower. Red indicates the beads of the center of the flower, we sew stitches for the threads BETWEEN them (center beads, in the sense).
We leave the center between the beads, pick up 1 bicone and 1 bead No. 10 or 15 and return from the bicone, go to the wrong side. It turns out a kind of giant stamen. Tighten well and fasten the thread on the wrong side.
We take cardboard, circle the shape of our embroidery.
We draw the same contour inside at a distance of 3 mm and cut it out.
I even cut out the excess - the main thing is that the cardboard does not touch the edges of the felt and moves away from it by 2 millimeters. We glue the cardboard to the felt - we drip glue only on the inside of the cabochon!
We smear the cardboard with glue, we don’t smear felt with glue!
We put (press, glue) the resulting "sandwich" on the wrong side of the skin. The skin should be thin and easy to pierce with a needle.
Carefully cut out - exactly on the felt. The skin should also not have creases and sharp corners, because they will distort all the work when we sew the edge.
It turns out something like this.
This is what it looks like from the inside.
We take a thread (sew in 1 thread), tie a knot, exit (attention!) From the wrong side of the felt to the front between 1 and 2 from the edge with rows of embroidery. I recommend starting to do this under the flower petals - if anything, it will hide a slight unevenness.
We collect 1 bead No. 10, and make a stitch from the inside (that is, already with skin) to the face at the same point from which we left the inside of the felt.
Having turned the pendant with the stone towards us, we pick up the sewn bead away from us. Thus - from the face - we pick up only the first bead in the closing row (the row with which we sew felt and leather is called closing), all subsequent ones are the same, but from the inside
We collect the next one, make a stitch from the skin to the felt, go out between the beads of 1 and 2 rows from the edge, pull it up.
Having turned the pendant towards us with the skin, we pick up the bead from ourselves with a needle, pull it up well. If everything is done correctly, the bead will lie with the hole up.
We continue in the same way.
Be careful - if you make too large stitches - you will have frank holes on the closing row, if too small - then the row will "fight", the beads will "dance", as they will not have enough space.
When you sew to the end, connect the last sewn bead with the first one (marked with red dots)...
And come out of it (1 sewn bead) from the inside out from yourself - that is, as if sewing again, only not from the face, but from the inside, like everyone else. Then she will lie flat in a row.
Hide the thread - take it along the row of embroidery somewhere far away. Please note that in all moves we thread through the beads so that there are no loops anywhere!
And then there! It turns out we have such an almost pendant. I decided that it will hang vertically, but you can also deploy it horizontally. Then it all depends on your imagination, I will show one of the options for processing the edge.
Now you need to make loops on which the pendant will hang. We take a double thread, tie a small knot and hide it ON THE FRONT side. We make a stitch in which the knot goes under the beads, and the needle comes out of the bead of the closing row.
Determine how many loops you need (there should be at least 4 so that the pendant does not spin and no more than 6), so that you can arrange them symmetrically and weave begins.
We collect 14-16 beads No. 10 or 18 beads No. 15 and return to the same bead of the closing row from which you left.
We're going to the other side.
It turns out a loop
We go to the next bead of the closing row.
We make the required number of loops Now we count how many beads we have left in the termination row - it is desirable that there be an even number of them (if it is odd, make another loop, for example, or when you sew on the bicones, make a large drop bead from below - symmetrically to the suspension loops , For example.
Coming out of the bead of the closing row closest to the loops, we collect a bicone and 1 bead No. 10 or No. 15 and return to the bicone and to the NEXT bead of the closing row.
We collect 3 beads No. 10 or No. 15 and again step into the NEXT bead of the closing row.
The photo shows where and where to step. We sheathe the edge with bicones and beads. I added more loops to the suspension at the end. We hide the thread in beads - it is not necessary to tie knots, but try to take it away.
I have never been into beading. For some reason, this type of creativity has always been associated with me with frivolous girlish “baubles”. Of course, I often use beads when creating various crafts. But only for embroidery.
However, I was forced to change my mind about beaded jewelry by the unimaginably attractive works of Marina Karetnaya, which I recently saw on the Beaded Jewelry Design website.
Cabochons made of natural stones, enclosed in fancy beaded frames, captivated my heart. And Marina advised where you can find information on braiding cabochons.
And finally, Czech beads of several shades and a small cabochon of sodalite were bought. So it's time to start learning a new hobby.
Are you eager to know if I managed to braid my first cabochon? Then look
Master class on braiding a cabochon with beads
Materials and tools for braiding a cabochon:
Czech seed beads Preciosa 10/0 (transparent dark blue, brilliant pale blue)
Chinese seed beads 7/0 (violet mother-of-pearl)
Round Sodalite Cabochon 20mm
Navy blue felt
Piece of black leather
Scissors
Needle for beads
Polyester thread for embroidery with beads
Transparent glue "Moment Crystal"
Thin cardboard
These are my treasures for braiding a cabochon up close:
How to bead a cabochon
Glue the cabochon to a piece of felt. It is believed that for gluing a cabochon it is better to use ordinary Moment glue or rubber glue. But I only have Moment Crystal. So if my cabochon does fall off, there will be a reason to attribute it to the “wrong” glue.
I start braiding the cabochon with a mosaic seam.
1 row (I use pale blue beads):
I bring the needle from the wrong side of the piece of felt to the front side next to the cabochon and string 2 beads on the working thread.
I make a stitch corresponding to the size of two beads and bring the needle to the wrong side, tightly tightening the thread and securing the strung beads.
One of the common mistakes at this stage of work is the wrong choice of stitch length: if the stitches are too small, the beads get knocked down and lie unevenly, if the stitches are too large, the beads dangle freely, revealing the working thread passing through it
I bring the needle to the front side between the fixed beads from the side of the cabochon and thread the needle through the second bead.
Again I string 2 beads on the needle.
To braid a cabochon with a mosaic stitch, the number of beads in the first row must be even!
To tighten the beads well, I go through the first row of sewn beads again.
2nd row (I also use pale blue beads):
I pass the needle through the first bead of the first row, string 1 bead on the thread, and then pull the needle through the bead of the first row, located through one from the first. I pull the thread.
Just in case, I show this process from a different angle:
Here you can clearly see that the beads of the second row are located through one.
Similarly, I string all the beads of the second row, tightening the working thread well.
3 row (weave of dark blue beads):
I pass the needle through the first bead of the second row, string 1 bead, after which I pass the needle through the second bead of the second row.
The alternation of pale blue beads of the second row and dark blue beads of the third row forms a kind of checkerboard pattern.
To securely fix the cabochon, I tighten the beads of the third row, passing it again.
As they say, beginners are always lucky. So I was lucky for the first time: the dark blue beads turned out to be a little narrower than the pale blue ones. Therefore, the third row of beads covered the cabochon very tightly. However, it is best to purposefully select beads of a smaller caliber for the top row.
For my first beading work, I use a very small cabochon. Therefore, three rows of beads are enough to secure it well. But if necessary, you can make another 1-2 rows with a mosaic stitch, alternating beads of contrasting colors.
Now the cabochon is set in a beaded setting, and I still have some space left on a piece of felt. And it seems to me that around the braided cabochon you can do a little beadwork (That's why you need to take felt with a margin!).
For the first time, I decided to do without experiments with freeform: after all, I still have not enough experience in cabochon embroidery. Therefore, I limit myself to several circles of beads sewn using the same technology as the first row when braiding a cabochon.
First, I make a row of large violet beads.
For those who could not see the process of sewing on beads, I demonstrate everything again.
Step 1: I fix 2 beads.
Step 2: Go back one bead.
Step 3: I pull the thread through the second bead of two and string the next two beads.
The next row is done with pale blue beads.
All. I’ll stop at this for now, postponing creative experiments for the next time.
Now you need to finish the edge of the decoration.
I cut off the excess felt along the edge of the last row of beads, trying not to damage the working thread.
I cut out a circle from cardboard, the diameter of which is 5 mm smaller than the diameter of the felt circle and glue it to the wrong side of the work.
I smear the back of the sheathed cabochon with glue and apply it to a piece of leather. Press firmly and wait for the glue to set.
I cut off the excess skin along the edges of the braided cabochon, stepping back 1mm from the edge of the felt circle.
Now it's worth thinking about how to close the edge of the braided and beaded cabochon.
You can often find the design of the edge of the cabochon with a buttonhole, as shown in the master class for making a leather keychain.
But of all the possible options, I chose the so-called "Russian" method of sealing the edge of a braided cabochon.
Since the piece of leather that I chose to decorate the cabochon is black, I also use black thread to close the edge.
I insert the needle between the felt and leather part, and bring it out behind the working thread between the two beads of the last row of embroidery around the cabochon.
I string a dark blue bead, throw the thread over the edge of the product. I insert the needle from the wrong side of the sheathed cabochon, through the leather detail to the front side in front of the working thread of the last row of embroidery.
I pull the working thread through the strung bead and tighten it tightly.
I repeat all the steps again.
I drew attention to the fact that in every cabochon braiding master class, the craftswoman always shows the beautiful wrong side of her work.
I have nothing to brag about. But I will not break the established traditions. I show you my “beautiful” wrong side of the sheathed cabochon:
I know, I know, you can't wait to look at the front side.
Well, so be it. This is a side view:
And this cabochon with embroidery in all its glory:
Of course, Marina still needs to grow and grow to the level of Marina's skill. But I really liked working with beads and a wonderful stone - sodalite. It turned out to be so “alive” that I still have the feeling that, having braided a cabochon, I caught a bird of paradise in a net.
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